The Review: If you were attempting to take a snapshot of British life from the output of our film industry, you might think that we’re stuck somewhere between a sumptuous costume drama, a brutal gangland thriller or a Richard Curtis comedy. Unless you’re Mr Darcy, Danny Dyer or Dawn French, you may not find these to be the most realistic or relatable portrayals of the core of British society. As for an understanding of village life, The Archers or Emmerdale are the closest that popular culture has come to understanding what makes a village tick, but now writer / director D R Hood has given us her insight into the lives of villagers and the secrets hidden behind the calm façade of life in the country.
Dawn and David (Claire Foy and Benedict Cumberbatch) are attempting to make a life for themselves in the country, in the village where David grew up. It seems the perfect couple have found the perfect home, but the arrival on the scene of David’s brother Nick (Shaun Evans) opens up a few closets with skeletons in, and starts to sow a small seed of doubt in Dawn’s mind. Having moved back to the village to start a family, Dawn begins to wonder if David is really the man she thought he was, especially as previously unknown details about the brothers’ childhood come to light. As Dawn finds herself drawn closer to Nick, their relationships become increasingly strained and Dawn finds herself faced with difficult decisions.
Wreckers is, first and foremost, an actor’s film, but it never descends to the level of melodrama, the performances all marked out in subtle shades rather than broad strokes. Claire Foy is at the heart of the film, and she captures perfectly the sense of conflict as she struggles to come to terms with what she’s learning. Opposite her, Benedict Cumberbatch is full of simmering tension and later controlled rage, hidden so far beneath the surface that it would be undetectable in a lesser actor. Shaun Evans completes the central trio, and while his performance isn’t quite the match for subtlety of his co-stars, his in-your-face manner a suitable counterpoint to the more understated performances of the two leads.
The other star of Wreckers is the scenery, the East Anglian countryside being used very effectively not only to emphasise the increasing isolation of the characters but also to give contrast to the lives they’re leading. There’s an almost dream-like quality to some of the photography, and the combination of this and the score from Andrew Lovett help to emphasise the placid nature of the surroundings, which only serves to give more edge to the unfolding drama. The story itself is a little linear, but that doesn’t detract from the overall effect, and there’s a pleasing sense of ambiguity around the ending. While Wreckers might capture the scenery and the atmosphere of village life, its moral dilemmas are somewhat more universal, but it’s worth catching for the combination of great actors working close to the top of their game in quintessentially English settings, and is a refreshingly different slant on British life without the need for British stereotypes.
Why see it at the cinema: The combination of the beautiful scenery and the intimate drama will work best on the big screen; the countryside scenes are almost hypnotic at times but the camera gets in close to the actors, and the cinema screen will capture every intimate glance and nuanced gesture.
The Score: 8/10